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There was only one poster who dissed the score early on (peterproud) and it was a fairly mild dis, without ever having heard the score as music outside the terrible movie.
I think the score is incredibly powerful and exciting, and it's one of my favorite Tadlow recordings.
Yavar
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Posted: |
Jan 22, 2017 - 12:14 PM
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By: |
Tadlow
(Member)
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This must be the strangest thread ever. It starts out with a poster dissing film and score and others agreeing, and ends with still others agreeing the score is brilliant. (Not the film though, notwithstanding Nero de Nutsack).
I must admit I was astonished when this score was first proposed as a Tadlow project. I had never heard of the film, and I'm a film buff (It's entirely understandable that anything with Franco Nero in it would go under my radar). I couldn't think of any good reason why Tadlow would want to do this, and despite now having heard the End Titles I still can't. I hope it did well, and good luck to all who bought it, but it still seems to me the weirdest choice in Tadlow's history.
Just my 2c.
How many times do I have to say this about Prometheus Releases...it was not a Tadlow project...I was for hire as producer and contractor, Choice of subject was not mine! However I was of course delighted by Luc van de Ven to be given the chance to record Alamo, Quo Vadis, Conans, Hour of Gun, Salamander, Thief of Bagdad, Duel in the Sun...and especially QBVII and Fall of the Roman Empire.....
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Posted: |
Jan 22, 2017 - 4:23 PM
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By: |
pp312
(Member)
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How many times do I have to say this about Prometheus Releases...it was not a Tadlow project...I was for hire as producer and contractor, Choice of subject was not mine! However I was of course delighted by Luc van de Ven to be given the chance to record Alamo, Quo Vadis, Conans, Hour of Gun, Salamander, Thief of Bagdad, Duel in the Sun...and especially QBVII and Fall of the Roman Empire.....
Not referring to whether it was your choice or Luc's, simply to the odd enthusiasm of fans for a score to a film that few besides themselves could have seen. You would think the very obscurity of the film would pretty much guarantee a lack of interest in the score, even if it's in fact a masterpiece. However, since it seems my 2c is in fact only worth 1c, I'll withdraw my puzzlement and acknowledge that this is a brilliant score which, presumably, hopefully, at least broke even.
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Sorry to break this to you, but James has repeatedly told us that only Conan, El Cid, and maybe Lawrence of Arabia have broken even. He and Luc almost ALWAYS lose money on these projects; they've kind of accepted that and just hope to lose as little as possible.
Goldsmith is pretty inarguably the most popular film composer of all time, among film music fans (speaking sales-wise). The specialty labels have repeatedly said that he is the most reliable seller across the board. The Salamander was the only remaining totally unreleased post-1980 Goldsmith score, so Luc's decision to record it made perfect sense, even though it would certainly have sold a lot better twenty -- or even ten -- years earlier.
Yavar
P.S. Goldsmith fans have LONG ago learned not to put much stock by the quality of the film itself when it comes to his music.
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